The impresario of the teatro milanese maximum, Bartolomeo Merelli, offered him a contract for two other scores: Un giorno di regno (Il finto Stanislao), opera buffa, had only one representation (September 5, 1840), and only with Nabucco, which took place on March 9, 1842, Verdi turned talent fully. The model of the grandiose, where the story is drawn in great colours, is repeated in the next opera, I lombardi alla prima crociata (Milan, La Scala, February 11, 1843); and it is with Ernani (Venice, La Fenice, March 9, 1844) that dramatic experience is expressed in the conflict between the passions of the characters. This stylistic choice continues with the two Foscari (Rome, Teatro Argentina, November 3, 1844), and is further refined in Alzira (Naples, San Carlo, August 12, 1845). All the works of the first creative stage verdiana differ from each other because each of them is explored this or that particular aspect of dramatic and musical experience. Thus, in Joan of arc, from the play by Schiller (Milan, La Scala, February 15, 1845), the supernatural element plays a decisive role in the affair, again tailored especially grandiose; While in Attila (Venice, La Fenice, March 17, 1846) testing for both the spectacle on stage as the overall organization of individual acts that make up the score. With Macbeth (Florence, La Pergola, March 14, 1847) Verdi explores for the first time a Shakespearean model, and especially highlights the dramatically relevant connections between crucial moments of each other, and this with only music media.